A Companion to Russian Cinema

 
 
Wiley-Blackwell (Verlag)
  • erschienen am 17. Mai 2016
  • |
  • 672 Seiten
 
E-Book | ePUB mit Adobe DRM | Systemvoraussetzungen
978-1-118-42470-4 (ISBN)
 
A Companion to Russian Cinema provides an exhaustive and carefully organised guide to the cinema of pre-Revolutionary Russia, of the Soviet era, as well as post-Soviet Russian cinema, edited by one of the most established and knowledgeable scholars in Russian cinema studies.
* The most up-to-date and thorough coverage of Russian, Soviet and post-Soviet cinema, which also effectively fills gaps in the existing scholarship in the field
* This is the first volume on Russian cinema to explore specifically the history of movie theatres, studios, and educational institutions
* The editor is one of the most established and knowledgeable scholars in Russian cinema studies, and contributions come from leading experts in the field of Russian Studies, Film Studies and Visual Culture
* Chapters consider the arts of scriptwriting, sound, production design, costumes and cinematography
* Provides five portraits of key figures in Soviet and Russia film history, whose works have been somewhat neglected
1. Auflage
  • Englisch
  • Hoboken
  • |
  • USA
John Wiley & Sons
  • 16,49 MB
978-1-118-42470-4 (9781118424704)
1118424700 (1118424700)
weitere Ausgaben werden ermittelt
  • Intro
  • Title Page
  • Table of Contents
  • Notes on Contributors
  • Acknowledgments
  • Notes on Transliteration and References
  • Transliteration
  • References
  • Introduction
  • The Field
  • The Project and its Structure
  • References
  • Part I: Structures of Production, Formation, and Exhibition
  • 1 The Film Palaces of Nevsky Prospect
  • References
  • 2 (V)GIK and the History of Film Education in the Soviet Union, 1920s-1930s
  • Film Education in the Soviet Union
  • Foundational Years: 1919-1924: Striving for the Method and the Victory of the Academic Model
  • Centralization and Reorganization: 1924-1930
  • From GTK to (V)GIK (1930-1937)
  • References
  • 3 Lenfilm
  • Vernacular Eccentricity
  • Heroic Romanticism
  • Avant-Garde as Tradition
  • Vernacular Postmodernism
  • Conclusion
  • References
  • 4 The Adventures of the Kulturfilm in Soviet Russia
  • Cultural, Enlightening, Useful: The Elusive Film Classification
  • Kulturfilms in the Soviet Studio Landscape
  • Creative Interpretations
  • The Death of the Concept
  • References
  • 5 Soiuzdetfilm
  • The Creation of Soiuzdetfilm
  • Getting Inside the Child's Head
  • Children Performing Children
  • Childhood, Difference, and Ideology
  • Donskoi's Approach to Acting
  • Reception
  • Soiuzdetfilm: Setting Generic Models
  • References
  • Part II: For the State or For the Audience? Auteurism, Genre, and Global Markets
  • 6 The Stalinist Musical
  • References
  • 7 Soviet Film Comedy of the 1950s and 1960s
  • References
  • 8 Auteur Cinema during the Thaw and Stagnation
  • Toward the Idea of a Director as an "Auteur"
  • The Tolerated Margin
  • The Individual and the Collective
  • Cinema in a Logo-Centric System
  • The Unbearable Sadness of Life
  • The Persistent Point of View
  • Metacinema
  • The Forgotten Audience
  • The Fresh Breeze of Perestroika
  • References
  • 9 The Blokbaster
  • Goodbye America, Hello Hollywood: The Rise of the Russian Blockbuster in the Late 1990s
  • Lovey Dovey: Importing the American Dream
  • From Blockbusters to Blokbusters: Russifying Content
  • Conclusion
  • References
  • 10 The Global and the National in Post-Soviet Russian Cinema (2004-2012)
  • Research Methods
  • Results of Research
  • References
  • Part III: Sound - Image - Text
  • 11 The Literary Scenario and the Soviet Screenwriting Tradition
  • The Iron Scenario and the Emotional Scenario
  • The Establishment of the Literary Scenario
  • The Implications of the Literary Scenario
  • Conclusion
  • References
  • 12 Ideology, Technology, Aesthetics
  • Introduction
  • Initial Explorations
  • The Importance of Color Processes Pioneered Abroad
  • Critical Reception of Early Soviet Color Films
  • Conclusion
  • References
  • 13 Learning to Speak Soviet
  • Machines Speaking to Machines
  • Multi-Lingualism, or the Problem of Language in Soviet Cinema
  • References
  • 14 Cinema and the Art of Being
  • Set Design: The Scholarly Field
  • The Russian Context: Background and Practicalities
  • The Soviet Designers
  • In Search of the Soviet Interior
  • References
  • 15 Stars on Screen and Red Carpet
  • References
  • 16 Revenge of the Cameramen
  • The Versatile Professional: Iurii Zheliabuzhskii
  • Too Little, Too Late: Eduard Tissé
  • Passion and Restraint: Mikhail Kalatozov
  • The Betrayed Loyalist: Boris Volchek
  • The Camera Purist: Sergei Urusevskii
  • Conclusion
  • References
  • Part IV: Time and Space, History and Place
  • 17 Soldiers, Sailors, and Commissars
  • Chapaev
  • We are from Kronstadt
  • Shchors
  • References
  • 18 Defending the Motherland
  • Shaping Memory: Understanding the Russian War Film
  • A Patriotic Spectacle
  • Pasha's Patriotism
  • The Responsibility for the Motherland
  • No Choice but to Defend
  • Conclusion: The Malleable Motherland
  • References
  • 19 Shooting Location
  • Riga as Soviet West
  • Riga through Latvian Eyes
  • The Baltic as Soviet Little Europe
  • Conclusion
  • References
  • 20 Capital Images
  • The Soviet Capital
  • "Little" Moscow
  • "Fixing" the Image
  • Crime Scene: Moscow
  • The Empty Space
  • Conclusion
  • References
  • Part V: Directors' Portraits
  • 21 Boris Barnet
  • A Moscow Youth: The "Champion of Denmark"
  • Working with Kuleshov
  • First Films as a Director: The 1920s Comedies
  • Politics and History, Love and Levity
  • The Wartime Films
  • The Films of the Late Stalin Years: Innovation and Frustration
  • Slow Fade
  • References
  • 22 Iulii Raizman
  • The Apolitical Revolutionary Film: The Last Night
  • Love at a Time of War: Mashenka
  • 1950s and 1960s: And What if it is Love? and Your Contemporary
  • Soviet Men and Women of the 1970s and 1980s: A Strange Woman, Private Life and A Time of Desires
  • Conclusion
  • References
  • 23 The Man Who Made Them Laugh
  • Gaidai's Comedy and Soviet Culture
  • The Making of the King
  • The Golden Decade
  • The Decline and the Second Life
  • References
  • 24 Aleksei Gherman
  • References
  • 25 Knowledge (Imperfective)
  • Biographical Aside
  • The First Technique: Inversion
  • The Second Technique: Effacement
  • The Third Technique: Indeterminacy
  • Love, Knowledge, Prophecy
  • References
  • Appendix: Chronology of Events in Russian Cinema and History
  • Bibliography
  • Index
  • End User License Agreement

Notes on Contributors


Anthony Anemone is a literary historian and film critic who writes about modern Russian literature and cinema. Educated at Columbia University and The University of California, Berkeley, he has taught at Colby College, The College of William and Mary, and, since 2007, at The New School. His essays and reviews have been published in Slavic Review, The Slavic and East European Journal, The Russian Review, The Tolstoy Studies Journal, Revue des Etudes Slaves, Wiener Slawistischer Almanach, and in numerous books. The editor of Just Assassins: The Culture of Terrorism in Russia (2010) and, with Peter Scotto, the translator and editor of "I am a Phenomenon Quite out of the Ordinary" The Notebooks, Diaries and Letters of Daniil Kharms (2013), which was named the Best Literary Translation by the Association of Teachers of Slavic and East European Languages. At present, he is at work on a monograph about the life and career of Mikhail Kalatozov.

Djurdja Bartlett is Reader in the Histories and Cultures of Fashion at the London College of Fashion, University of the Arts London. She has widely published and lectured on the theme of fashion during socialism and post-socialism. Bartlett is author of FashionEast: The Spectre that Haunted Socialism (2010); FashionEast: prizrak brodivshii po vostochnoi Evrope (2011), and editor of the volume on East Europe, Russia, and the Caucasus in the Berg Encyclopedia of World Dress and Fashion (2010). Bartlett's new monograph European Fashion Geographies: Style, Society and Politics (2016) has been funded by an Arts and Humanities Research Council Fellowship grant.

Maria Belodubrovskaya is Assistant Professor of Film at the University of Wisconsin-Madison. She has published articles in Cinema Journal, Slavic Review, Studies in Russian and Soviet Cinema, and KinoKultura and is completing a book on the Soviet film industry during the Stalin period.

Birgit Beumers is Professor in Film Studies at Aberystwyth University. She completed her DPhil at St Antony's College, Oxford and from 1994 to 2012 worked in the Russian Department at the University of Bristol. She specializes on cinema in Russia and Central Asia, as well as Russian culture. Her publications include A History of Russian Cinema (2009) and, with Mark Lipovetsky, Performing Violence (2009). She has edited a number of volumes, including Directory of World Cinema: Russia 1 and 2 (2010, 2015) and The Cinema of Alexander Sokurov (2011, with Nancy Condee). She is the editor of the online journal KinoKultura and of the journal Studies in Russian and Soviet Cinema, as well as co-editor of Zeitschrift für Slavische Philologie. With Richard Taylor, she is General Editor of the KINO series and of the KinoSputniks series. She is currently working on contemporary Russian cinema and on early Soviet animation.

Maria Bezenkova holds a PhD (kandidat) in arts. She is Associate Professor at the Russian State Institute of Cinema (VGIK), head of Nevafilm Emotion (distribution of alternative content in Russia), program director of Transbaikalia International Film Festival. She is the author of many articles on the film market, film theory and history, and contemporary Russian cinema for the journals Russian Film Business Today, Cinemascope, Vestnik VGIKa, Film Sense, and film critic for Iskusstvo kino, and online journals.

Robert Bird is Associate Professor in the departments of Slavic Languages and Literatures and Cinema Media Studies at the University of Chicago. His main area of interest is the aesthetic practice and theory of Russian modernism. His first full-length book Russian Prospero (2006) is a comprehensive study of the poetry and thought of Russian poet and theorist Viacheslav Ivanov. He is the author of two books on the filmmaker Andrei Tarkovsky: Andrei Rublev (2004) and Andrei Tarkovsky: Elements of Cinema (2008). In 2012 he published Fyodor Dostoevsky, a brief, critical biography. His translations of Russian religious thought include On Spiritual Unity: A Slavophile Reader (1998) and Viacheslav Ivanov's Selected Essays (2001). Recent publications include essays on Soviet wartime poetry and the work in film of Aleksandr Sokurov and Olga Chernysheva. He is presently at work on a book manuscript "Soul Machine: Socialist Realism as Model, 1932-1941."

Phil Cavendish is Reader in Russian Literature and Film at the School of Slavonic and East European Studies, University College London. He is author of Mining for Jewels: Evgenii Zamiatin and the Literary Stylization of Rus´ (2000) and Soviet Mainstream Cinematography: The Silent Era (2007), followed by the monograph on the visual aesthetic of Soviet avant-garde films of the silent era, The Men with the Movie Camera (2013). He is the author of scholarly articles on the poetics of the camera in pre-revolutionary Russian cinema (2004); the theory and practice of camera operation within the units of the Soviet avant-garde (2007); and the poetics of the photo-film in Andrei Zviagintsev's The Return (2013).

Nancy Condee is Professor of Slavic and Film Studies at the University of Pittsburgh. Recent publications include The Cinema of Alexander Sokurov, (ed. with Birgit Beumers, 2011); and The Imperial Trace: Recent Russian Cinema (2009), which won the 2011 MLA Scaglione Slavic Prize and the 2010 Kovács Book Award from the Society for Cinema and Media Studies. Other volumes include Antinomies of Art and Culture: Modernity, Postmodernity, Contemporaneity (ed. with Terry Smith and Okwui Enwezor, 2008) and Soviet Hieroglyphics (1995). Her articles have appeared in The Nation, The Washington Post, October, New Left Review, PMLA, Sight and Sound, as well as Russian journals.

Julian Graffy is Professor Emeritus of Russian Literature and Cinema at University College London. He has written widely on Russian film and is the author of Bed and Sofa: The Film Companion (2001) and Chapaev: The Film Companion (2010). He is currently completing a study of the representation of foreign characters in a century of Russian film.

Seth Graham is Senior Lecturer in Russian at SSEES, University College London, where he teaches courses on Russian literature and language, cultural studies, and gender studies. Before coming to UCL in 2006, he taught at Stanford University and the University of Washington. His publications include numerous articles and chapters on Russian cinema, Central Asian cinema, and Russian humour. His monograph Resonant Dissonance: The Russian Joke in Cultural Context was published in 2009. He is co-editor of the online journal KinoKultura.

Jeremy Hicks is a Reader in Russian Culture and Film at Queen Mary University of London. He is the author of Dziga Vertov: Defining Documentary Film (2007) and First Films of the Holocaust: Soviet Cinema and the Genocide of the Jews, 1938-46 (2012), which won the ASEEES Wayne C. Vucinich Prize, for most important contribution to the field of Slavic, East European and Eurasian Studies. The research for this book has informed a number of documentary films, including André Singer's Night Will Fall. He has also published various articles on Russian and Soviet film, literature, and journalism in Russian Review, History, Studies in Russian and Soviet Cinema, Kinovedcheskie zapiski, Iskusstvo kino, Revolutionary Russia, and Historical Journal of Film, Radio and Televison. He is a co-editor of KinoKultura, as well as an advisor on the editorial board of Vestnik VGIKa, and Studies in Russian and Soviet Cinema.

Lilya Kaganovsky is Associate Professor of Slavic, Comparative Literature, and Media & Cinema Studies, and the Director of the Program in Comparative and World Literature at the University of Illinois, Urbana-Champaign. Her publications include How the Soviet Man was Unmade (2008); articles on gender and sexuality in Soviet and post-Soviet cinema; and two co-edited volumes: Mad Men, Mad World: Sex, Politics, Style and the 1960s (with Lauren M. E. Goodlad and Robert A. Rushing, 2013), and Sound, Speech, Music in Soviet and post-Soviet Cinema (with Masha Salazkina, 2014). She serves on the editorial board of the journal Studies in Russian and Soviet Cinema, and contributes film reviews to Slavic Review and KinoKultura. She is currently completing a book on Soviet cinema's transition to sound.

Anna Kovalova graduated from the philological faculty of St Petersburg State University (2007). From 2005 to 2008 she worked as editor for local television. From 2009 until 2015 she was a researcher at the philological faculty of St Petersburg State University. Since 2015 she is an assistant professor of philology at the Higher School of Economics (Moscow). She has published in the journals Seans, Kinovedcheskie zapiski, Russian Review and Studies in Russian and Soviet Cinema; she is the author of Dovlatov (with L. Lur'e, 2009), Kinematograf v Peterburge 1896-1917 (with Yuri Tsivian, 2011) and Kinematograf v Peterburge 1907-1917. Kinoproizvodstvo i fil'mografiia (2012). She is editor of a volume of...

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